Wednesday night, he walked away from Jacobs Pavilion at Nautica secure in the knowledge that his win was no fluke. The 3,500 in attendance know the truth: Guy can flat-out sing.

Panic! headlined a show that included Boston's Magic Man and Cincinnati's Walk the Moon and put the spotlight square on infectious, danceable pop music.

Urie and his bandmates used their 21-song set – including a pair of encores, "This Is Gospel'' and "I Write Sins Not Tragedies'' – to solidify the band's spot as one of the top draws in the indie pop world.

But you know what? It wasn't a slam-dunk.

Magic Man, behind the frenetic dance moves of frontman Alex Caplow, and Walk the Moon, with the seemingly boneless Nicholas Petricca turning his hips into a human lava lamp, were the perfect complements to Panic!

Why? Well, because though Magic Man had seven songs and Walk the Moon nine, the quality of the delivery, the music and the songs themselves was only a hairsbreadth away from that offered up by Urie & Co.

I have to admit, though, that my notes on Magic Man's "Every Day'' include a phrase that – as someone who lived through the '70s – terrifies me: "Dare I say it? Sounds like 2014 disco.''

But really, not disco in a bad way, like cheesy songs, polyester shirts open to the navel and goldfish in platform heels. Just good, danceable tunes.

I got a little of the same sense from Walk the Moon, but even better. There were some REALLY nice harmonies between Petricca, guitarist Eli Maiman, bassist Kevin Ray and drummer Sean Saugaman. And proving that everything old is new again, one of the band's newest songs, "Spend Your Money,'' brought to mind Prince's "Let's Go Crazy.'' It's not that it copies it, or even uses the same riffs. It just has that same vibe.

But make no mistake, the night belonged to Urie and Panic! At the Disco, who seemingly were intent on proving that while you can take the boy out of Las Vegas (their hometown), you can't take Las Vegas out of the boy.

Or the band.

The showmanship of Urie and his bandmates – especially guitarist Kenneth Harris and Dallon Weekes – was over-the-top good without being over the top, if that makes any sense.

But it's Urie's band and Urie's show. His multi-octave range and his ability to reach out and grab an audience were clear from the moment he and his gold lame jacket (which, to the delight of many, soon gave way to a tight T-shirt, then to naught but skin) walked out onto the stage.

"Vegas Lights,'' "The Ballad of Mona Lisa,'' "Let's Kill Tonight'' and "Girls/Girls/Boys'' turned into giant sing-alongs, all aided and abetted by Urie's ability to reach out like some onstage Gulliver and hold the Lilliputian fans in his hands.

In a show full of highlights like "Miss Jackson'' (great backstory there; moral is, if you're gonna fool around on a singer-songwriter, you're gonna pay the price), "Ready to Go (Get Me Out of My Mind)'' and "Nicotine,'' I had my own favorite: "Bohemian Rhapsody.''

Listen, if you're going to cover a song by the man who is arguably the best singer ever to step onto a rock 'n' roll stage, you dang-sure better be have big, brass ... nerves.

Urie & Co. did and do. They pulled it off perfectly, especially with his beautiful Freddie Mercury-style keyboards and the bouncy chorus. The latter came with a sense of humor, too: The scene from "Wayne's World'' played in the background as the band members added those tremendous head-bobbing harmonies.

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